Zegna FW20. A 14×14 meter section of the ceiling of the Bovisa warehouse hung with ribbon—37 kilometres of it in all—that were made of surplus fabric from the last six collections for Ermenegildo Zegna. This was created by Anne Patterson, entitled Art For Earth, and made for a startling demonstration of the scale of waste that this industry creates, even at a house as highly placed in the system as this one. Alessandro Sartori ensured 50% of this collection was from recycled fabric. “Zero waste may be is impossible, but we have to aim for it. I think we can get to 100%, but we need to keep working.” As he refines this sustainable process Sartori also continues to develop his new tailoring lexicon, developing rethought evolutions of the genre of attire for which he is so deeply reverent yet to which he delights in applying almost blasphemous innovations. Sartori says he wants to make garments that last forever and certainly at a company as elevated as Zegna he can achieve that. These products will probably, well cared for, outlive their owners. And by applying a sustainably circular discipline to his manufacture which Sartori noted can see some fabrics worn, broken down, then recycled up and worn again up to seven incarnations over, he is creating a context for a new definition of timelessness in fashion.